Originally Posted by ambesolman
But what reasons would persuade a mixer to use filters? It's the "why" that I don't understand.
Because there might be information in the audio you don't want, can't hear, etc.
The discussion keeps coming up using descriptors like "neuter" and "compromise."
There is no grand conspiracy to change the artistic intent that the director and sound crew worked for months to create.
There are no theaters that can reproduce <18Hz content with any consistency.
We have a spec, and an industry accepted tuning.
If a mixer feels that they will gain headroom in the LFE channel for audible material, they may choose to introduce a slight roll off to the content being fed to that channel.
Again, we don't have these "neutering" brick wall filters on our consoles.
And again, the use of the word "filtered" is incorrect in 99% of the discussions the LFE discussions.
In most ceases, the material wasn't there from the start... a number of sound designers I've talked to confirm this.
These are my opinions, and obviously there are others in the business that spend the effort and time creating ULF content, either by design or by accident.... I can tell you, however, I've never been in a sound designers room, or a mixing stage, where someone is constantly analyzing the frequency content of what is being sent to the LFE channel.
I personally am not overly concerned with creating material under 20Hz, because very few can reproduce it accurately.
I also don't want to discount the desire of those seeking to do so., and I personally don't HPF my LFE (but I do LPF it at 80Hz.)
Preference, choice and taste... those are three "why's" to your question.
(as a side note, Marti might chime in on how his mix for Oz translated from a larger servo driven sub system in a big dub stage to his very powerful multi sub Meyer system (which is designed not only for even response over a large portion of his room, but also copious extension, output and head room.)